"Given the symphonic talents he displayed for the concurrent release of The Promise, it's hard to imagine why he produces such simplistic muck."

Are we going to ever see a Filmtracks review of 'The Promise' to back this statement up, or are we just going to be subjected to still more aimless Badelt bashing? While I agree it is not Badelt's strongest score, you can't post a review of Poseidon and tear it to shreds, insinuating that the composer doesn't have what it takes to score a film, then make a comment such as the one above. To be fair to Badelt, and to help put the Poseidon score into some sort of Context, you need to publish a review of The Promise. I notice that we never seem to miss a John Williams score on this site, but there are at least two Badelt scores that have been all but ignored (these being Ned Kelly and The Promise) and which even serious Badlet fan such as myself consider to be his absolute best scores to date.

Even though the reviews presented here are generally very pessimistic and rarely have anything good to say of even the best of scores, what Filmtracks really lacks is a sense of balance when it comes to considering a composer's complete body of work. A site such as Soundtrack.net at least offers users the ability to vote on as-yet unreviewed scores, so users can get some idea of the general concensus concerning that composer's work.

I enjoy Filmtracks' reviews, as they do offer the 'other side of the coin,' but it'd be nice if they weren't so filled with composer bashing all the time (and not just in regards to Hans Zimmer's so called 'clones' - most composers don't seem to fair too well on Filmtracks).